Release date: Out Now
Label: Heaven and Hell Records
Formed in 2022 in Raleigh, North Carolina, CRIMSON STEEL presents itself as a traditional heavy metal band deeply influenced by the genre’s most revered names, from Judas Priest to Iron Maiden and Queensrÿche. Their mission is clear: to emulate that legacy without straying too far from its aesthetic coordinates. The result is a sound built upon classic foundations with a subtle progressive edge, delivered by a competent lineup more concerned with recreating established formulas than breaking new ground.
Following the cinematic intro “As Below, So Above“, “Dark Ride” opens the album with a track steeped in the spirit of 1980s USPM. Its crushing opening, weighty structures, and triumphant trumpet fanfares evoke the battlefield atmosphere of Age of Empires.
Unfortunately, several issues emerge here that continue throughout the entire record. The rhythm guitars consistently feel out of sync with the drummer’s tempo, while the percussion itself remains flat and rigid, never fully capturing the sense of power and destruction the compositions strive to convey.
It’s a real shame, because Tina Langevin delivers an outstanding vocal performance. She moves effortlessly between a gritty, streetwise approach and soaring high-register passages, displaying impressive range, power, and control. Joel McGee also proves to be an exceptional bassist, providing tasteful fills, a solid low-end foundation, and effective backing vocals. Yet the drums never quite lock into place, preventing the band’s machinery from reaching its full potential. The result is certainly listenable, but it never develops into what it could have been.
“No Absolution” opens with flanger- and chorus-driven textures, creating a restrained introduction before the rhythm guitars gradually fill the sonic space. Once again, however, they never sound completely synchronized, and their harsh, shrill distortion feels jarring, especially during the first few listens. It is evident that Crimson Steel is chasing an old-school aesthetic reminiscent of Manilla Road’s Crystal Logic era or even Ashbury’s progressive hard rock, complete with galloping sections and flamboyant tapping- and tremolo-heavy solos. Yet the final mix works against those intentions, leaving the material sounding unfinished rather than authentically vintage.
Even so, the album never completely falls apart. There is a genuine desire to embrace a rough, imperfect sound, although “Purifier” marks another noticeable dip in quality. With stronger guitar tones and tighter drumming, the song could have approached the territory occupied by bands such as Wytch Hazel or Dark Forest. Listening closely reveals excellent dual vocal interplay between Joel and Tina, but the guitars sound uninspired and lifeless, as if merely fulfilling an obligation, lacking both feeling and groove.
“Final Phase” introduces delicate clean arpeggios that, unfortunately, also come across as hesitant. Rather than sounding intentionally dissonant, several notes feel simply out of tune. The lead guitar navigates these clean passages confidently, yet the sloppy rhythm arpeggios constantly undermine its work. When the main riff arrives, the same lack of conviction persists, and even the artificial harmonics concluding each phrase feel strangely empty. Meanwhile, the drummer struggles to establish a natural, energetic pulse, preventing the song from ever truly flowing.
“Prelude to the Blade” is a brief acoustic interlude lasting less than a minute, blending flamenco and neoclassical influences. As an isolated curiosity, it works surprisingly well within an album desperately searching for greater cohesion.
“Century Sword” follows with several single-note melodic lines that sketch an inherently dramatic framework, yet once again the weak rhythm guitars prevent the song from fully blossoming. Were it not for Joel McGee’s disciplined and well-executed bass performance, the result would verge on collapse. Tina’s voice is particularly underutilized here, almost feeling pasted onto the arrangements despite possessing a timbre worthy of heavy metal royalty such as Lita Ford or Doro Pesch. The closing section attempts an Iron Maiden-style twin guitar finale, with harmonized leads dueling over a sturdy rhythmic foundation. While there are flashes of inspiration, the song never comes together as a cohesive whole.
“Bleed into One” serves as the album’s power ballad, incorporating moments that approach operatic soprano territory while showcasing Tina’s finest vocal performance on the record. Her phrasing effortlessly moves between classical influences, blues inflections, and melodic heavy metal. As elsewhere, the guitars remain loosely assembled and the drumming painfully linear, yet the chemistry between Tina and Joel creates passages of genuine emotional depth that momentarily elevate the material.
“Show No Fear” opens with an attempt at a faster rhythmic attack, but the guitar work once again remains flat, uncoordinated, and devoid of feeling. The opening solo only reinforces the sense of disorder that permeates the production, suffering from both awkward execution and weak development. There are certainly worthwhile riffs, particularly around the bridge and chorus, yet the rhythmic pulse remains clumsy and uneven, much like the lead guitar itself. Echoes of classic ’80s heavy metal emerge throughout, recalling the dramatic pauses of Medieval Steel, the aggression of Street Child, and even the punk-infused attitude of Salem’s Wych. Sadly, the production lacks the direction needed to transform those influences into something greater, leaving the album stranded in thoroughly average territory.
Conclusion
Crimson Steel leaves the impression of a band that knew exactly what kind of music it wanted to make but never found the right way to bring that vision to life. The problem is not a lack of ideas, influences, or individual talent. Rather, the obstacle lies in an execution incapable of translating that ambition into a coherent musical language. The songs survive largely thanks to Tina Langevin’s commanding vocals and Joel McGee’s excellent bass work, while the guitars and drums often seem to be fighting an entirely different battle, constantly undermining a project that aspired to sound truly epic.
And yet, beneath all the rough edges lies something impossible to ignore. There is conviction, there is identity, and above all there is a sincere love for classic heavy metal. If Crimson Steel can channel that passion into a stronger production and a tighter, more unified performance, they still have both the time and the tools to transform this unfinished promise into the album that, every now and then, can already be glimpsed beneath the surface.
TheNwothm Score: 6/10
Links
Bandcamp: https://crimsonsteel.bandcamp.com/
Facebook: https://www.facebook.com/CrimsonSteelband
Instagram: https://www.instagram.com/crimsonsteelband/
Label: https://www.heavenandhellrecords.com/
